A Studio Visit with Sebastian Loo: Exploring Interconnectedness in Art and Existence
Sebastian was recently part of a two-person show, “Ode to an Honest Mirror,” at Monte Vista Projects, where I first got a comprehensive look into his work. In “Ode to an Honest Mirror,” Loo’s artwork invites viewers on a journey of introspection and rebirth. Using rice paper as a fragile medium, he crafts delicate, pointillist compositions that embody themes of loss, renewal, and connection to one’s inner child, reflecting on medieval apocalypse tapestries. His work merges symbols from mythology, science, and spirituality, forming a visual space of interconnectedness where humanist wisdom lies beyond rigid systems and icons. Through these intricate, layered pieces, Sebastian encourages viewers to contemplate the transient nature of personal transformation and the deeper, often overlooked ties that shape our inner world.
Visiting Sebastian Loo's studio feels like stepping into a meditative vortex of energy, where each piece resonates with the philosophy that everything, down to the smallest dot, holds a unique place within a vast, interwoven system. Sitting across from Sebastian in his workspace, I quickly felt immersed in a conversation that wandered seamlessly between art, science, spirituality, and the existential. For Sebastian, art is a conduit—a way to visually and conceptually explore these intricate, layered networks that define both micro and macro worlds.
Sebastian Loo in the studio
Sebastian’s work often returns to the humble dot, which he views as a symbol and a foundation of his practice. In his words, each dot, while part of a larger structure, "has its own kind of unique... energetic signature," something simultaneously autonomous and embedded within a broader framework. It's a concept that allows for infinite scaling from the cellular level to cosmic proportions. In a way, his dots seem to reference something vast yet comprehensible—a language of interconnections that even viewers without any background in art can intuitively recognize. He speaks passionately about how dots and repetition echo in the art world and in natural systems—cellular structures, microbiomes, and even quantum mechanics. For Sebastian, these themes extend far beyond visual representation and into a holistic worldview where art, science, and spirituality converge.
This fascination with interconnectedness is also grounded in a deep exploration of spirituality. Though he doesn’t adhere strictly to any one tradition, his practice draws upon Buddhist and Hindu philosophies and the idea of a "social sculpture" inspired by Joseph Beuys. This concept of social sculpture, which sees society as a collaborative creation shaped by each individual’s contributions, resonates profoundly with Sebastian. His art becomes a way of participating in this sculpture, visually capturing the push and pull of forces that define both our internal and external worlds.
“Prophecy: the first trumpet is blown. ‘….xx..’ emerging from a force of meltwater, smoke, permeable ore,” 2024. Ink and colors on xuan paper cutout 108 × 84”
One striking aspect of Sebastian's approach is his commitment to simplicity. As we discuss the formal qualities of his work, he shares that he deliberately avoids "fluff" and unnecessary embellishments. Instead, he strips down his materials and techniques to their bare essence—dots, symmetry, and paper. These elements, though straightforward, carry a sense of timelessness. For Sebastian, they ground his work in an ancient, almost primordial energy, as if he is reawakening something long dormant. His sculptures and paintings feel honest, raw, and unpretentious, like visual poems condensed to a few carefully chosen words.
Sebastian’s admiration for artists like Diego Rivera also shapes his practice. Rivera’s narrative compositions, full of accessible symbolism, inspire Sebastian to create works that are conceptually dense yet open enough for viewers to find their own way in. He wants his art to feel like a conversation, a place where viewers are welcome to engage without the pressure of an “academic air.” In Sebastian’s studio, art isn’t about pedantic lecturing but rather about an open-ended dialogue where everyone brings something to the table.
As we wrap up, I find myself lingering on Sebastian's words about the nature of knowing—or rather, not knowing. He expresses a quiet reverence for the mystery of existence, suggesting that perhaps the magic lies precisely in our inability to grasp it fully. For him, creating art is less about providing answers and more about offering a space for connection, for grappling with the “big questions” and maybe finding some comfort in the complexity. It’s an approach that makes his work feel like a touchstone in an uncertain world—a reminder that while we may not have all the answers, we are all part of something infinitely more extensive and beautifully intricate.
